NOTES TO THE THIRD BOOK OF THE COURTIER no means the least part of his fame was won by the ardour with which he advanced the cause of science, art and letters in his country, and bestowed upon his people not only an enlightened code of laws but also the benefits of Renaissance culture. He introduced printing into Hungary, and was the founder of a magnificent public library at Buda Pest, containing fifty thou- sand volumes, for the most part MSS. which he caused to be copied in Italy and the East. Note 396, page 204. Isabella of Aragon, (born 1470; died 1524), was the daughter of Alfonso II of Naples and Ippolita Maria, daughter of the first Sforza duke of Milan. In 1489 she made a splendid entry into Milan as the bride of her own cousin Giangaleazzo Sforza, whose rights as duke were gradually usurped by his uncle Ludovico il Moro. This usurpation has been regarded as partly due to the ambition of Ludovico's young w^ife, Beatrice d'Este (see note 398), who could not endure the precedence rightfully belong- ing to Isabella. As has been seen, it was to protect himself against the wrath of Isabella's father and grandfather, that Ludovico invited Charles VIII into Italy as his ally. W^hen Charles reached Pavia, he had to endure the pathetic spectacle of his forlorn cousin Giangaleazzo (they were sisters' sons) in prison, and to hear the piteous pleadings of the beautiful Isabella, who fell at his feet and besought him to have mercy on her husband. Her appeal was withstood, and Ludovico of course had no scruple in setting aside the rights of her infant children. Fresh trials awaited her in her native country, to which she re- turned in 1500, and from which her family had been expelled. Note 397, page 204. Isabella d'Este, (born 1474; died 1539), was the oldest child of Duke Ercole I of Ferrara and Eleanora of Aragon. Having had Mario Equicola as preceptor, she married the Marquess Gianfrancesco Gonzaga (see note 446) in 1490, her early betrothal to whom prevented her from becoming the wife of Ludovico Sforza, the duke of Milan, who soon afterwards married her sister Beatrice. At Mantua she continued her literary and artistic train- ing, and her court became one of the brightest and most active centres of Italian culture. The chief poets and painters of the time laboured for her or were her friends. Being for years in her husband's service, Castiglione knew her closely, maintained a frequent exchange of letters with her, and is only one of many who praise her beauty, her intellect, and her moral qualities; she may be regarded as the most splendid incarnation of the Renaissance ideal of woman. Her long friendship with her sister-in-law, " My lady Duchess," has been already mentioned. Some interesting details have survived as to her manner of ordering a picture. Having chosen a subject, she had it set forth in writing by some humanist of her court. These specifications were then given to the painter chosen for the purpose, and he was furnished with minute directions as to the placing of the figures and the distribution of light, and required to make a preliminary sketch. As the painting was often intended for a specific space, she took great care to secure the exact dimensions desired, by providing two pieces of ribbon to show the precise height and breadth of 398
